Much has been written about street art and graffiti during and after Egypt’s January 25 revolution, and there has also been a great deal of photo-documentation of these art forms as they emerged at various times between 2011 and 2014. Scholars and journalists have explored this art as “a faithful barometer of the revolution;” a dramaturgical performance of revolutionary events and discourses (Abaza 2013; 2015); a mode of resistance, dissent and political commentary for youth (Boskovitch 2014; Ismail 2013; Lennon 2014), and as a poignant although impermanent form of memorialization of those who lost their lives in conflicts with the police and security forces of the Mubarak, Morsi and el-Sisi regimes (Main 2014; Morayef 2012). Other authors have described the art as a way in which citizens re-set their understanding of their national identity and citizenship and begin to reclaim public space (Saunders 2012; Nicoarea 2014; Zakareviciute 2014). All of these approaches have brought important perspectives to bear on the understanding of the artistic efflorescence in revolutionary and post-revolutionary Cairo. However, there have been very few in depth analyses of this art work as aesthetic and creative productions. This paper addresses this lacunae by effecting an in depth analysis of two large works on the famous walls of Muhammed Mahmoud street. Because these works were produced during highly charged political circumstances, I do not divorce them from their political content. Rather, I effect a multi-dimensional approach that acknowledges the socio-political meanings of the works while at the same time paying careful attention to form, style and aesthetic innovation. This approach draws upon scholarship in anthropology, art criticism and post-colonial theory (el-Ariss 2013; Kraidy 2016; Scheid 2010; Winegar 2006). The paper focuses on two pieces that have received little if any scholarly attention, The Egyptian Citizen by a lesser known street artist HeMa AllaGa, and a portrait of Hisham Rizq by well-known artist Ammar Abo Bakr. I chose these pieces because they integrate insightful socio-political commentary with skillful—albeit very different—aesthetic styles, and because they speak to each other in interesting ways. I argue that each piece incorporates elements of Egyptian history and mythology along with international artistic images and trends to invite new ways of thinking about contemporary Egyptian realities. My readings of these works are based on photographs I took in July 2015.